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Track(s) taken from CDA67782

Es rauschen die Winde, S294 First version

1845; LW N33
author of text

Matthew Polenzani (tenor), Julius Drake (piano)
Recording details: February 2010
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2010
Total duration: 2 minutes 37 seconds

Cover artwork: Photograph of Matthew Polenzani by Sim Canetty-Clarke

Other recordings available for download

Mark Padmore (tenor), Graham Johnson (piano)


'Polenzani is evidently a tenor of the finest quality: a lyric voice, sweet and ingratiating, with the capacity to ring out excitingly, gloriously easy on high but with a perfectly adequate body to the tone in its middle and lower registers. He is firm and even, pleasingly expressive … he sings with warmth, intelligence and conviction, matching the superb playing of his pianist Julius Drake' (Gramophone)

'Polenzani remains an extraordinarily communicative Lieder singer, possessed of an agile and flexible voice of tremendous versatility. In the most intimate of these settings, as well as in the quasi-operatic ones, Polenzani and Drake create performances that are at once thoughtful, richly atmospheric and never less than compelling … this auspicious inauguration of the series whets the appetite for more' (International Record Review)

'This stupendous disc, issued ahead of the Liszt bicentenary next year, marks the start of Hyperion's survey of his complete songs, still a grey area for many despite past attempts by major artists such as Brigitte Fassbaender and Dietrich Fischer-Dieskau to rehabilitate them … as with so much of his music, their difficulty in performance is to be found in their emotional and expressive extremes. The challenges are more than met here, with Polenzani doing things in songs such as Der Fischerknabe or Pace Non Trovo that you never thought were possible for a human voice, while Drake's intensity is total and unswerving' (The Guardian)
The Berlin critic Ludwig Rellstab published a compilation of reviews and newspaper articles about Liszt in 1842 as a result of the concerts that made Liszt a phenomenon comparable to today’s biggest rock stars. In Rellstab’s words, Liszt would leave Berlin ‘not like a king, but as a king’. Three years later, Liszt set a poem by Rellstab, Es rauschen die Winde, that Schubert had earlier set to music under the title ‘Herbst’ (Autumn), D945, its theme the perennial comparison of autumn to old age and the approach of death. In Liszt’s first version, the persona is agitated and desperate, with certain figures that recall Schubert’s persona in ‘Der stürmische Morgen’ from Winterreise. The memory of springtime in parallel major mode (another song-within-a-song) also seems Schubertian in origin, proof that major mode can be as tragic as minor mode in the hands of great composers.

from notes by Susan Youens © 2010

Le critique berlinois Ludwig Rellstab a publié une compilation de critiques et d’articles de journaux sur Liszt en 1842 après les concerts qui ont fait de Liszt un phénomène comparable aux plus grandes rock stars de notre époque. Selon Rellstab, Liszt allait quitter Berlin «en roi et non comme un roi». Trois ans plus tard, Liszt a mis en musique un poème de Rellstab, Es rauschen die Winde, sur lequel Schubert avait déjà composé un lied intitulé «Herbst» («Automne»), D945, sur le thème de l’éternel rapprochement entre l’automne, la vieillesse et l’approche de la mort. Dans la première version de Liszt, le personnage est agité et désespéré, avec certaines figures qui rappellent le personnage de Schubert dans «Der stürmische Morgen» du Winterreise. Le souvenir du printemps en mode majeur parallèle (un autre lied dans le lied) semble également avoir une origine schubertienne, preuve que le mode majeur peut être aussi tragique que le mode mineur entre les mains des grands compositeurs.

extrait des notes rédigées par Susan Youens © 2010
Français: Marie-Stella Pâris

1842 veröffentlichte der Berliner Musikkritiker Ludwig Rellstab eine Sammlung von Rezensionen und Zeitungsartikeln über Liszt und seine Konzerte, die aus ihm eine nach heutigen Maßstäben mit den größten Rockstars vergleichbare Berühmtheit machten. Rellstab zufolge verließ Liszt Berlin „nicht wie ein König, sondern als König“. Drei Jahre später vertonte Liszt Rellstabs Gedicht Es rauschen die Winde, das bereits von Schubert unter dem Titel „Herbst“ (D945) vertont worden war und den üblichen Vergleich zwischen Herbst, Alter und nahendem Tod bemüht. In Liszts erster Version ist die Person erregt und verzweifelt mit ähnlichen Ausdrucksmitteln wie in Schuberts „Der stürmische Morgen“ aus der Winterreise. Die Erinnerung an den Frühling in der parallelen Dur-Tonart (ein weiteres Lied im Lied) klingt ebenfalls an Schubert an, was beweist, dass große Komponisten auch Dur so tragisch wie Moll klingen lassen können.

aus dem Begleittext von Susan Youens © 2010
Deutsch: Henning Weber

Other albums featuring this work

Schubert: The Complete Songs
CDS44201/4040CDs Boxed set + book (at a special price)
Songs by Schubert's friends and contemporaries
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